{"id":795,"date":"2019-02-07T07:49:07","date_gmt":"2019-02-07T07:49:07","guid":{"rendered":"https:\/\/cherscholar.com\/cherblog\/cher-scholarship-in-the-wild\/"},"modified":"2023-02-20T08:16:41","modified_gmt":"2023-02-20T15:16:41","slug":"cher-scholarship-in-the-wild","status":"publish","type":"post","link":"https:\/\/cherscholar.com\/cherblog\/2019\/02\/cher-scholarship-in-the-wild\/","title":{"rendered":"Cher Scholarship in the Wild"},"content":{"rendered":"

\"Cher-2019-tour\"<\/a><\/span><\/p>\n

This is a photo of Cher's latest arena tour, fifty years into her concert career.<\/span><\/p>\n

It\u2019s curious how many essays there were last year\u2019s about Cher. Women and gay men have been writing stories about how Cher helped them be more assertive or survive hard times. But now we're seeing a surge of people writing about Cher as a phenomenon. There have been a few reviewing a song here or there, some reviewing her entire oeuvre, some quite-personal essay about how Cher influenced them in some way, or about how they never thought about Cher much until recently and are discovering things about her they find profoundly misunderstood or inspiring.<\/span><\/p>\n

No one can even get at what she\u2019s doing, really. She\u2019s flinty and strong, hard and soft, but can we really parse the craft of it? The mystery of the mechanics of Cher? Writers are trying to figure out what Cher means.<\/span><\/p>\n

Recently a friend of mine found a local course on Cher from a catalog called Oasis.<\/span><\/p>\n

\"Oasis\"<\/a>Oasis offers<\/span> programs for senior citizens. I\u2019m was very bummed that I missed it, but the offering, you bet I am going to cajole one of my 55+ friends into sneaking me into it. <\/span>This teacher runs courses on multiple acts including Neil Diamond, Harry Belafonte, Cole Porter, Dinah Washington, Oscar Levant, Carly Simon, Bobby Darin, Sting, Tina Turner, Hank Williams (called the Hillbilly Shakespeare), and on categories like showtunes, African American music history, music and the holocaust, among other interesting topics. <\/span>In the class description, she calls Cher out as a super-diva activist and philanthropist who has sold over 110 million records and has had a #1 single in each decade.<\/span><\/p>\n

\u201cThe evolution of Cher<\/a>\u201d by Justin Elizabeth Sayre had great commentary around authenticity and bling.<\/span><\/p>\n

\u201cI\u2019ve never disliked Cher or thought of her as anything other than a dynamic and talented performer. But I have long taken Cher for granted. I simply assumed that many artists have had multiple hits in multiple decades, won Oscars and Grammys and been cultural icons clad in Bob Mackie for over 40 years. Cher was just one person of note on a short but powerful list\u2026.But the truth is that there is no list. There is only Cher."<\/span><\/p>\n

Things Sayre singled out for what makes Cher particularly authentic, h<\/span>er immediate sense of presence: <\/p>\n

"Even on film, this woman was the real thing, the genuine article, poised, gorgeous, talented, brilliant \u2014 all things that mean Cher."<\/span><\/p>\n

This is an important point because Cher has always been accused of being a false front, a clothes hanger, a fake hippie, a false singer, a false folk act and that her bling has been used simply to hide the falseness.<\/span><\/p>\n

<\/a>Sayre claims it was Cher\u2019s authenticity that actually saved scenes of the movie Burlesque<\/em> for him:<\/span><\/p>\n

\u201cThe scenes with Stanley Tucci, who plays just the sort of gay men I like, were all funny and touching. The relationship between two friends who are deeply committed to each other, slightly in love, trying to keep a part of the world for themselves, was so genuine that my friend choked up. For the rest of the movie, Cher became a life preserver. I relaxed when she was onscreen, knowing full well that I would no longer drown in a sea of the average. It wasn\u2019t camp, but it was good. Camp needs more of a threat.  It\u2019s always about the push and the pull; it has the frenetic energy of failure mixed with the knowing achievement of beautiful destruction. In a way, Cher can\u2019t do camp. That may be a strange thing to say, seeing how much camp is inspired by her, but I think it\u2019s true. There is such a sense of authority in her performing (she\u2019s Cher, dammit!), but there is also her undeniable sense of truth<\/strong>. In <\/span>Burlesque<\/span><\/em>, the song may be outlandish, the setting bizarre, but <\/span>she somehow comes off present and honest in the eye of this glittery storm…<\/strong>Things that would appear garish or over-the-top on a host of other divas seem absolutely appropriate on Cher, even demanded. Cher deserves lighting. And glitter. This is how her world should be. And there in that dream, Cher sits down and sings to you about the joys and sorrows of life that you both share. She\u2019s just like you, even with all that surrounds her.  And you believe it, because Cher is something real.\u201d<\/span><\/p>\n

At first this is what I thought might the the problem with all Cher impersonations and (before I saw it) the Broadway show<\/a>: glitter without Cher just doesn't fulfill the Cherness. Gitter doesn\u2019t hold you up even if you\u2019re adept at doing all the Cher ticks. Because the glitter is an add-on and not the architecture. <\/span><\/p>\n

And for those who say authenticity is impossible to apply to a career involving auto-tune or plastic surgery, Sayre has a message for you too:<\/span><\/p>\n

\u201cNow, of course, there will be some who say that this is not an accurate assessment of Cher: How can you call someone \u201creal\u201d who has had that amount of plastic surgery, or used auto-tuning as she\u2019s done? To that I would reply, \u201cWho told you about those things? Cher did.\u201d Cher has never denied having plastic surgery. She\u2019s been upfront and honest about her \u201cwork.\u201d She\u2019s also been forthcoming about a desire to look good. And we love her for it, so why should we be upset when she does things to make herself look and feel great? As for the auto-tuning, she used it as an effect, not as a crutch. It was a sound, a look, almost, that turned \u201cBelieve\u201d into a huge hit. The pipes are still there, trust.\u201d<\/span><\/p>\n

Anna Swanson did a movie survey with some great commentary<\/a>, too. <\/span><\/p>\n

\u201cCher\u2019s work on the silver screen has reached across a wide variety of genres, from musicals and fantasy films to serious dramas. She\u2019s worked with some of the most iconic directors in the industry, often portraying women who are difficult to pin down. Her roles frequently simultaneously play up her larger than life public persona and react against it, rendering it impossible to easily define her characters or to put them in a box.\u201d<\/span><\/p>\n

About Come Back to the Five and Dime, Jimmy Dean<\/em>:<\/span><\/p>\n

\u201cThe film, which also stars Sandy Dennis and Kathy Bates, has been frequently praised for its feminist themes and for its empathetic depiction of the character Joanne (Karen Black), a trans woman\u2026.Not only is Cher\u2019s performance integral to the film, she also received acclaim for it and was nominated for a Golden Globe \u201d<\/span><\/p>\n

About Silkwood<\/em>:<\/span><\/p>\n

\u201c<\/span><\/em>In <\/span>Silkwood<\/span><\/em> she is stripped down and her performance is grounded in realism. In playing a lesbian character, Cher\u2019s portrayal of Dolly offers an incredibly humane and nuanced look at the experiences of a marginalized woman.\u201d<\/span><\/p>\n

About Mask<\/em>:<\/span><\/p>\n

\u201cThough the film is at times a touch schmaltzy, Cher\u2019s performance is once again grounded and nuanced.\u201d<\/span><\/p>\n

About Moonstruck<\/em>:<\/span><\/p>\n

"In addition to being <\/span>a romantic masterpiece<\/a><\/strong>, director Norman Jewison\u2019s <\/span>Moonstruck<\/em> is a vehicle for Cher\u2019s best screen performance to date, and the one that won her an Oscar. …Cher has heartfelt and witty material to work with and she knocks it out of the park\u2026.<\/span>Moonstruck<\/span><\/em>, though it has just the right amount of melodrama, is also honest and unpretentious, especially in scenes with Olympia Dukakis as Loretta\u2019s mother. Between Jewison\u2019s direction, Shanley\u2019s script, and the performances, <\/span>Moonstruck<\/span><\/em> is pitch perfect. Simply put, they don\u2019t make rom-coms like this anymore, and that is a goddamn shame.\u201d<\/span><\/p>\n

About Witches of Eastwick<\/em>:<\/span><\/p>\n

\u201cWhat makes this film most memorable is the relationship between the three women. Just as Miller would famously go on to do with <\/span>Mad Max: Fury Road<\/span><\/em>, here he foregrounds these complex women and the strength of their bonds. The women have their struggles, but it\u2019s never doubted that they are at their strongest and their best when they are committed to helping each other.\u201d<\/span><\/p>\n

Matthew Jacobs takes another tour through her movies<\/a>…<\/span><\/p>\n

\u201cOf all the pop stars who have attempted to act, Cher\u2019s track record is arguably the best\u2026As her post-Sonny & Cher solo career waxed and waned in the \u201980s and early \u201990s, Cher\u2019s movie career flourished \u2015 a true achievement, given the ostentatious displays that had made her a walking glitter bomb since the mid-\u201960s.\u201d <\/span><\/p>\n

He breaks her acting career into eras, the beginning (1967-1985), the gold (1987), the wobble (1991-1999), the redemption (2000). <\/span>
<\/span><\/p>\n

About Chastity:<\/em><\/span><\/p>\n

Chastity<\/em>, released in June 1969, tried to be a gritty derivative of the French New Wave, packing big ideas \u2015 Bono <\/span>apparently said<\/span><\/a> it was about society\u2019s sudden \u201clack of manhood\u201d and \u201cthe independence women have acquired but don\u2019t necessarily want\u201d \u2015 into a whiplash-inducing downer involving a lesbian romance and childhood molestation…But bad movies can be testaments to good actors\u2019 skills. Cher is at ease in front of the camera, never letting her fame announce itself before she opens her mouth. The same qualities accenting all her best film work \u2014 a scrappy confidence that reads as a proverbial middle finger to anyone who crosses her \u2014 become the highlight of \u201cChastity.\u201d\u201d<\/span><\/p>\n

About Mask:<\/em><\/p>\n

Mask<\/em> proved her acting was bankable\u2026. The role earned her a third Golden Globe nomination and the Cannes Film Festival\u2019s prestigious best-actress prize, but she was snubbed by the Oscars…At the Academy Awards, she donned her infamous midriff-bearing <\/span>Bob Mackie getup<\/span><\/a>, complete with a cape and a spiky headdress. The look was more punk rock than Tinseltown elegance \u2015 an oversized fuck-you to the fusty Academy and an ebullient reminder that she wouldn\u2019t tidy up her image to appeal to Reagan-era conservatism.\u201d <\/span><\/p>\n

About Witches of Eastwick:<\/em><\/p>\n

\u201cIn 1987, at the critical age of 41, Cher landed a troika of commercial hits in which she was the centerpiece, starting with the delicious lark The Witches of Eastwick<\/em>,…she held her own against Susan Sarandon, Michelle Pfeiffer and Jack Nicholson.\u201d<\/span><\/p>\n

He calls her Moonstruck<\/em> performance \u201ccareer-defining.\u201d<\/span><\/p>\n

Of the [Witches, Suspect, Moonstruck<\/em> 1987] trifectata: <\/span><\/p>\n

\u201cIn each, Cher captured a quotidian version of American life \u2015 and what\u2019s more transformative than Cher pretending to be quotidian?\u201d<\/span><\/p>\n

All the while, Jacobs reminds us, Cher was making pop-rock hits like \u201cI Found Someone,\u201d \u201cWe All Sleep Alone,\u201d and \u201cTurn Back Time,\u201d hits that would \u201cplace her in the same league as Madonna, Paula Abdul and Whitney Houston.\u201d<\/span><\/p>\n

About post-Mermaids<\/em> work:<\/span><\/p>\n

\u201cShe was too decadent to disappear into the same down-home movie roles, and Hollywood no longer saw her as a profitable actress. Cher played along with the joke, though, portraying exaggerated versions of herself (see: The Player, Will & Grace, Stuck on You<\/em>) even when she wasn\u2019t actually playing herself (see: Burlesque<\/em>). <\/span><\/p>\n

The Redemption Jacobs considers as her appearance on Will and Grace:<\/span><\/p>\n

\u201cThere\u2019s no movie-star move more powerful than playing yourself with an ironic wink, and Will & Grace<\/em>, like The Player<\/em> before it, let Cher poke fun at herself in a refreshing way. She is treated as an empire, at once pointedly self-aware and deliciously aloof \u2015 a perfect way to master her own narrative without being beholden to it.\u201d<\/span><\/p>\n

He concludes, <\/span><\/p>\n

\u201cIf pop stars are meant to be mythological and actors are meant to be aspirational, Cher has mastered both domains. She did so by never shying away from how the world metabolized her iconography, and by forever laughing at the absurdity of fame.\u201d <\/span><\/p>\n

Abby Aguirre in Elle Magazine<\/em><\/a> wrote a very good interview piece (actually a long one) with Cher in November and I thought this exchange was very indicative of Cher's attitude about achieving this level of notoriety after so many lean spells:<\/span><\/p>\n

\u201cBefore I leave, I ask Cher why she thinks following fun and acting on instinct has, in her case, produced so many pivotal moments. \u201cIt doesn\u2019t always,\u201d she says. \u201cLook, I\u2019ve had huge failures in my life. Huge dips and \u2018Oh, you\u2019re over. You\u2019re over.\u2019 This one guy once said, \u2018You\u2019re over,\u2019 every year for I don\u2019t know how many years. And I just said to him, \u2018You know what? I will be here when you\u2019re not doing what you do anymore.\u2019 I had no idea if I was right or wrong. I was just tired of hearing him say it.\u201d\u201d<\/span><\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

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